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James Franco Writes Short Story About Lindsay Lohan Encounter, Calls Her 'Damaged'

6/12/2014 Wonderwall
© WENN/Invision/AP

By UsWeekly

James Franco may want people to stop asking him if he's had sex with Lindsay Lohan, but the multi-hyphenate artist still yearns to creatively explore the real story. The "Of Mice and Men" actor, 36, penned a short story for Vice entitled "Bungalow 89," which details the encounter in question that Lohan, 27, claims was sexual.

Franco's prose moves back and forth between the tale of his late-night run-in with the former child star, his life living in "Bungalow 89," and meeting mentor and famed director Gus Van Sant.

He claims the "Mean Girls" actress knocked on his door late at night, and he let her into his room under the condition that they would not have sex and, instead, offered to read her a story.

"Once upon a time a guy, a Hollywood guy, read some Salinger to a young woman who hadn't read him before," Franco wrote. "Let’s call this girl Lindsay. She was a Hollywood girl, but a damaged one. I knew that she would like Salinger, because most young women do … Now we were lying in bed. I wasn't going to f--- her. She had her head on my shoulder. She started to talk. I let her."

Franco continued to muse about Lohan, writing that she had once made an aggressive pass at him in the bathroom following the premiere of her 2006 film directed by auteur Robert Altman "A Prairie Home Companion." He once again claimed that he fended her off.

"I hope she gets better. You see, she is famous," he wrote. "She was famous because she was a talented child actress, and now she's famous because she gets into trouble. She is damaged. For a while, after her high hellion days, she couldn't get work because she couldn't get insured. They thought she would run off the sets to party. Her career suffered, and she started getting arrested (stealing, DUIs, car accidents, other things). But the arrests, even as they added up, were never going to be an emotional bottom for her, because she got just as much attention for them as she used to get for her film performances. She would get money offers for her jailhouse memoirs, crazy offers. So how would she ever stop the craziness when the response to her work and the response to her life had converged into one? Two kinds of performance, in film and in life, had melted into one."


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